Learning to Visualize A Bright Future For Our Environment

SINESALOUM2-SLERNER2018
Stephanie Lerner, SineSaloum, 2018, fishrope, plastic litter & epitonium shells. Courtesy of the artist.

The confluence of science, technology, and art offers an array of pragmatic and creative opportunities for future generations to make general improvements within the world we all share. One of the major issues that will affect generations in the not too distant future is the transformation of our waterways from being sources of life to being bodies of conflict. Our oceans, seas, rivers, etc. have been experiencing vast amounts of human-induced trauma for decades on end. Eventually, time will run out for these vibrant eco-systems, which sustain all life on this planet. For example, many waterways are overfilled with pollution from consumer goods such as plastic. If the current rate of plastic pollution, which ends up in the water is not ceased, there will actually be MORE plastic than fish in our oceans by the year 2050. This is obviously a devastating premonition for life as we know it on Earth. The reason we know the extent of this ominous information is due to advances in technology, which allows scientists to safely and effectively study the oceans and waterways.

Art is like science and engineering in that it is informed by inquiry based research, theory testing, and transformation of ideas or materials into something new. Artists, like scientists and engineers seek to develop profound responses to big questions. Artists have aligned their creative output with many major scientific issues since before the dawn of civilization. Our knowledge of human history and the natural environment were initially discovered through visual records evident from cave paintings depicting the inquisitiveness and experiential learning within pre-historic communities. Over time artists have helped us increasingly relate to our surroundings and develop innovative new ideas and products. For example, we see artistic innovation that informed scientific research inside the notebooks of Leonardo DaVinci, through John James Audubon‘s colorful and accurate depictions of American birds, and in the development of urban agricultural environments like Mary Mattingly’s SwaleAlternatively, the father of neuroscience, Santiago Ramón y Cajal, was just as innovative as a draughtsman visualizing the brain on paper as he was in studying the physical elements of the brain in his laboratory. In the case of all the above examples, visual art played an essential role in the synthesis of scientific discovery and innovation.

Today’s students will inherit a world that is in need of innovations that will ensure its salvation. Art centered education can impress upon students the need for environmental empathy by showing examples of how artists such as Sto Len, Steven HirschWilliam Miller, the Newtown Creek Armada, and Stephanie Lerner symbolize the effects of pollution as material or subject matter in their work. All at once, these works are aesthetically pleasing, romantic, tragic, and dire. They remind us that in life, death is always present and our struggle to create a beautiful world is interconnected to our mortality. However, there is also a great sense of hope to be gained by understanding that visual art has the power to incite change and impress upon people’s positive relationships with the world around them. These artists implore us to become better custodians of our natural resources so that we can sustain nature’s marvelous qualities for many generations to come.

Steven Hirsch and William Miller’s abstract photography, transcends the often negative description of the murky, dark, and slow moving water of the Gowanus Canal. Hirsch’s camera captures a brilliant spectrum of colors that reflect off the water’s surface, which immediately brings to mind the Impressionist works of Monet as well as Post-WWII color field painters. Hirsch’s photographs create an epic visual narrative, which is indicative of Greek mythology. Here, we see that beauty transcends the devastation that has overtaken the canal, and it is calling loudly to us for help. Similarly, the canal’s aesthetic properties becomes the inspiration for William Miller’s series of photographs. Miller photographs the Gowanus Canal in a manner where abstract forms are juxtaposed with recognizable imagery. Reflections of the clouds and sky are visible in some of the photographs, which transforms the viewer to an otherworldly state. It is hard to imagine the toxins below the surface, however, Miller subtly captures glimpses of refuse and sludgy textures to pull us back to reality.

Screen Shot 2018-03-21 at 11.56.18 PM
Works on paper by Sto Len on view at Volta NY, 2018. Photograph by Adam Zucker

Sto Len’s unique printmaking process, transports his practice from the studio environment into the heavily polluted waters of the Newtown Creek. He improvises on the traditional style of Suminagashi (floating ink) printmaking to develop an experiential collaboration and discourse with nature by dipping prepared paper into the creek’s heavily polluted waters, and using its detritus as material.

Through watching video installations and looking at documentation by the Brooklyn based art collective Newtown Creek Armada, students can analyze how artists realized a problem (extreme pollution in the Newtown Creek), developed their research, and sought to address this problem to the public.

Stephanie Lerner is an excellent artist that students can look to for inspiration on working with recycled materials in order to repurpose problematic pollution into an awe-inspiring solution that is both poignant in its message and visually stunning. Lerner combs the beaches and waterways for discarded plastic products and makes intricate works of art such as tapestries and mandalas, which she creates by weaving together plastic refuse and fishing line, a harmful pollutant that takes 600 years to decompose underwater. By cleaning the shorelines, Lerner is ensuring that the plastic washed onto the beach doesn’t return to the ocean, while also acquiring materials for her poignant yet beautiful works of art.

Valuable materials in the art room can be sourced by having the school community (teachers, parents, students) contribute plastic, paper/cardboard, and other refuse, which can be used for weaving, sculpture, collage, and printmaking projects. Traditional materials should ideally be substituted for earth friendly, recycled, and repurposed materials whenever possible.

Artistic learning has many benefits for inter-disciplinary innovation. When artists use their artistic knowledge and skills –put those elements of art and principles of design to practical use and transcend relying on traditional art materials (which can add to surplus waste and pollution as well– to seek to address big issues that affect our civilization, the results are transformative throughout our collective culture. Art influences society by raising our awareness, affecting our emotions, translating experiences across time and place, and giving us a sense of self within the world. When artists explore ideas and problems within other disciplines like science and technology, they can truly make essential contributions to the present and future stewardship of our environment.

Advertisements
Learning to Visualize A Bright Future For Our Environment

STEAM based learning through Contemporary Art Pt. 2: Body, Mind, and the Environment

Art and science are more similar than they are different. Artists and scientists use similar methods or habits of mind such as theory testing (concept/hypothesis, trial and error), flexible purposing (ability to shift aims while working), and weighing alternatives (the ability to see things from multiple perspectives). Furthermore, artists and scientists explore various organic and synthetic materials and change their properties or qualities to create something new. In today’s volatile climate, where science and the humanities are eschewed in favor of ‘alternative facts,’ artists can fight back by presenting awe-inspiring work that unites disciplines such as science, technology, and history. There is a lot of potential for the artist and scientist to collaborate inside and outside of the studio or laboratory. Additionally, when scientific research is presented in the form of an art project (such as Love Motel for Insects), it humanizes the data and communicates an empathetic message that is accessible to everyone in the public sphere.

The common thread between the artists discussed in this post, is their use of organic and inorganic mediums as a vehicle for promoting a conversation about our relationship with the world and our fragile existence within nature. Referencing their knowledge and research of biology, ecology, medical science, climate science, and social history, their artwork is a visual metaphor for the paradoxical conflation of the human made and natural world. Juxtaposing organic materials and phenomena with synthetic art materials and processes, contemporary artists: Vanessa Albury, Nene Humphrey, Kristen Holcomb, and Jordan Eagles, explore the association between the body, mind, and the environment. At large, these works of art present aesthetic reflections of mortality, spirituality, and scientific inquiry.

20170106_145635
Vanessa Albury, Arctic, Future Relics (Distant Mountains), 2016, Selenium-toned Gelatin Silver Print mounted to museum board and wood, 42″ x 32″ x 8″.

Vanessa Albury’s photographs take glacial ice-caps in the Arctic Circle as subject matter. Her series Arctic, Future Relicswhich was realized during a residency in Svalbard, Norway, documents the melting of glaciers due to climate change. The ephemeral essence of these glaciers are memorialized in time through the photographic process. Ghostly in their aesthetic form, these epic photographs capture the essence of these majestic ecological forms throughout the process of decay.

Microscope_Hand Drawing Amygdala from Nene Humphrey on Vimeo.

In her series of layered drawings created by using high-powered microscopes, Nene Humphrey explores the connection between aesthetics and the deep cellular workings of the amygdala where our emotions reside. The resulting images are intimate artistic expressions of our psyche that deals with themes of loss and mourning.

Jordan Eagles ‘paints’ using animal blood mixed with multiple layers of clear resin. His unique style of work came about through rigorous theory testing and trial and error. He incorporates gradations of “aged blood” that create various deep black fields in stages of decomposition and illuminates the consistency and texture of the blood. These abstract works of art can resemble other natural and synthetic imagery such as Rorschach inkblot test patterns, magnified biological cells, and lava. The work explores how we think about our bodies and address issues of mortality.

Screen Shot 2017-05-22 at 11.56.43 PM.png
Kristin Holcomb, Transformations #81, pigment print, 11.5 x 17.5 inches.

Similarly to Vanessa Albury, Kristin Holcomb observes nature taking its course and captures the transformative process through the lens of her camera. Her abstract photographs are of surfaces of walls after years of being changed by weather, paint, rust, and algae. The walls themselves become complex, organic or synthetic ‘paintings’ with the passing of time. The Transformations series of photographs are about rebirth and the possibility of beauty in destruction.

The aforementioned artists are just a few inspirational examples of how art, science, and technology can have a symbiotic relationship and result in strong inter-disciplinary learning capabilities. Having students reflect and respond to their natural surroundings through art is a good way for them to develop a lifelong thirst for knowledge and become more environmentally and socially conscious.

STEAM based learning through Contemporary Art Pt. 2: Body, Mind, and the Environment

STEAM based learning through Contemporary Art Pt.1 – Art and Ecology

Brandon Ballengée’s Love Motel for Insects is a great example of how contemporary art has the ability to enhance a K-12 curriculum that focuses on STEAM (Science, Technology, Engineering, Art, and Mathematics) learning. Love Motel for Insects is an ongoing public art installation raising awareness about local ecosystems by connecting humans and nocturnal anthropods.

The nocturnal insects are attracted by UV lights, creating a performative scene when the sun goes down. These ‘social sculptures’ bring humans and insects together in an intimate setting and offers a unique opportunity to witness tiny and often elusive organisms in action. Ballengée accompanies these installations with talks and workshops for individuals and groups of all ages. Love Motel for Insects illustrates how we can use art in a non-intrusive manner to create something that gives us insight into the natural world.

STEAM based learning through Contemporary Art Pt.1 – Art and Ecology